The 4K future is here and, unlike 3D, it’s no gimmick. The pace of innovation is almost shocking, and at 1080 Studios we are keeping up!!

We can use 4K’s unparalleled resolution to make things look better, have a more immersive and authentic feel, which allows for a better storytelling medium. 4K has a whole lot more ‘real estate’ with which to tell the story.

Anyone looking at 4K content on the right screen will see a lavish, and more emotive image that is a lot closer to the picture quality delivered in the cinema. But even if your project is never displayed on a 4K screen, you can reap tremendous benefits from shooting in 4K!

For example:

When shooting a green screen project, 4K allows you to shoot one frame of your host (head to toe), then use that same clip for the waist shot, and the close up, all from the one take!

No more matching enegery between takes, no adjusting for possible changes in exposure, etc. from different takes and focal lengths. And lets not forget, your talent will love you for not having to read the same script over and over for hours to get the different framings, and you can keep your production as efficient as possible saving you time and money in the end.

Also, when shooting interviews, you can shoot a medium shot and be able to cut a close up and an extreme close up all from the same shot, it’s like having 2 cameras on the set! Also, no matching cameras in post, no slightly different angles as with the standard “side by side” 2 camera interview, it also gives you added flexibility, and saves you money!

Start to finish:

At 1080, we are also quipped to handle the rigourous demands that 4K places on the edit system. Many post production systems just are not up to the task. This is why we have upgraded our whole post production pipeline to smoothly handle any project from 4K to standard HD..

A few fun facts:

We are currently working on a large 4K digital signage project for a client in the medical space. Can you imagine your content on a UHD monitor, in a public space for all to see, it is stunning!

Netflix has already begun rolling out 4K on its own shows – the latest season of original series “House Of Cards” can be streamed in 4K, if your TV and internet connection are up to the task.

Amazon’s 4K Instant Video service will land on Samsung and Sony TVs in October.

Sony has announced that its PlayStation will be upgraded to 4K and will have titles available including The Amazing Spider-Man, Total Recall and Ghostbusters to name a few.

Many of our clients were looking for a camera that could future proof their valuable
footage, and record a format on-board that was user-friendly with their current
workflows. That format is XDCAM 422 (or MPEG2 422).

What I needed was an all-in-one camera system. A system that shoots broadcast friendly
formats, is future proof to shoot 4k, can shoot raw and also shoot high frame rates
(HFR).

Sony’s F55 is the chameleon camera that can do it all! It supports digital cinematography-broadcast
production and live television broadcasting. It shoots onboard 4K-and also 2K and
standard HD. It has a Super 35mm sensor that works with Cine PL lenses or Canon
EF lenses, and with 2/3-inch HD zoom lenses via B4 adaptor. The F55 can change
personality depending on the needs of the project, the day or the individual shot.
It’s uniquely engineered to reward our clients now-and far into the future.

The CMOS sensor of this camera is capable of capturing true 4K (4096×2160) DCI-standard
cinema images, thanks to 8.9 effective megapixels. I am also able to use my favorite
lenses without any major disparity when it comes to angle of view because the sensor
is able to approximate the size of a traditional 2-perf, Super 35mm motion picture
film.

The F55 also has a new format, which looks great and plays well with NLEs, XAVC.
In addition to shooting MPEG2 on board, I can shoot XAVC in many resolutions and
frame-rates, right to Sony SxS cards you are used to using.

The Canon C300 camera is becoming the go to camera for many of our clients! The incredibly successful worldwide adoption of Canon’s EOS C300 can be attributed to the amazing pictures it produces, but also how well it integrates with existing post-production workflows. Canon made sure that the EOS C300 was compatible with the majority of post-production software, and equipped with superior recording features and modes that gives it the ability to operate in all of the globally standardized 50 and 60Hz digital formats, the EOS C300 is a true “WorldCam” that facilitates shooting anywhere around the globe.

We strive to bring the latest technology to our clients including the new Litepanels 1×1 Bi-Color light kit that is changing the game.

The all-in-one light solution with color control right at your fingertips. A soft, high output light, that lets you quickly dial up any color, from cool white daylight to warm white tungsten. The new Litepanels 1×1 Bi-Color flood lets you adjust color temperature instantly so you can adapt to different shooting conditions and skin tones on the fly. Like all Litepanels 1×1 lights, the Bi-Color has a full-range dimmer, remains cool to the touch, runs on AC or battery power, and produces a great, soft-wrapping light quality.

Our new Slyder Dolly is a portable linear-sliding mini-dolly tracking solution for camera rigs up to an optimum weight of 30 lbs. Weighing in at 7 lbs, and with a width of just under 5″, the 40″ Slyder Dolly units are supremely portable, allowing you to get those quick, smooth short-run dolly shots without having to carry a full dolly system and track.

The unit is constructed from custom extruded high-grade aluminum with integrated rails. Its anodized body gives it a long-lasting and smooth finish that is easy to maintain and clean. The dolly can be used on many surfaces – including tabletop, ground-level and tripod – to create smooth camera movements on a horizontal, angled or vertical axis.